Frozen inside without your touch, without your love
Darling, only you are the life among the dead

(All this time I can't believe I couldn't see
Kept in the dark but you were there in front of me)
I've been sleeping a thousand years, it seems
Got to open my eyes to everything
(Without a thought, without a voice, without a soul)
Don't let me die here (There must be something more)
Bring me to life

There will be coming more of Deborah Cox, for she is one of my favourite R&B Dance artists. Here upfront some seriously kicking tunage with what most people may refer to as the 'Swedish House Mafia':
Axwell, Ingrosso, Angello, Laidback Luke feat. Deborah Cox 'Leave the World Behind' (2009)

...and then there is, of course, Beyoncé Knowles. The winter season 2006/7 kept me busy dancing to the release of Ring The Alam/Deja Vu and Beautiful Liar (with Shakira), which were so skillfully remixed in the Brighton stables of Russell Small and James Wiltshire, better known as the Freemasons

As the New Year's Eve's parties are rapidly approaching, it's time to dig out some legendary club choons... - Chicago-based Suzanne Palmer covered this the same year Glaswegian Kosheen released it, and made it a chopper in American clubs. Best remix comes courtesy Ronen Horin, a.k.a. Friburn & (Yuval) Urik.

I follow the Moskva
Down to Gorky Park
Listening to the wind of change
An August summer night
Soldiers passing by
Listening to the wind of change

The world is closing in
Did you ever think
That we could be so close, like brothers
The future's in the air
I can feel it everywhere
Blowing with the wind of change

Take me to the magic of the moment
On a glory night
Where the children of tomorrow dream away
In the wind of change

Walking down the street
Distant memories
Are buried in the past forever
I follow the Moskva
Down to Gorky Park
Listening to the wind of change

Take me to the magic of the moment
On a glory night
Where the children of tomorrow share their dreams
With you and me
Take me to the magic of the moment
On a glory night
Where the children of tomorrow dream away
In the wind of change

The wind of change
Blows straight into the face of time
Like a stormwind that will ring the freedom bell
For peace of mind
Let your balalaika sing
What my guitar wants to say

Take me to the magic of the moment
On a glory night
Where the children of tomorrow share their dreams
With you and me
Take me to the magic of the moment
On a glory night
Where the children of tomorrow dream away
In the wind of change

Everyone seems to think Enrique Igleasias, son of Julio Iglesias, is this fluffy little vocalist, but there's more:

Back in September 2000, Enrique decided to cover Bruce Springsteen's 'Sad Eyes', which apart from scoring #8 in the US Dance Charts and #34 in the official US Billboard Charts, went largey ignored. But this is why I love remixes - HQ2, an Australian DJ outfit gave it a once over and the tune appeared on dancefloors. Eric Kupper did the same in the US.

But the question is, why did Enrique Iglesias' handlers ditch the gem of a music video to the track, featuring a naked Enrique cavorting with a stripper who dances around a pole that extends from between his legs? Can't they see this is art? The video for Enrique's cover of Bruce Springsteen's Sad Eyes randomly surfaced on David LaChapelle's website (I told you: art!) and has begun to make the rounds, with responses from somewhere between OMG and WTF.
Mr. Iglesias' phallic fantasy begins with an ode to the loneliness of fame, watching a video of himself performing, then flips channels to a phone sex ad, and he is drawn in sexy trance towards the glowing screen. He then goes cruising for hosin a fancy car and finds the sex ad lady (played by porn star Cassidey, says Tabloid Prodigy ), who is a sad but lighthearted whore who comes to his home and dances the 10-foot steel pole that stands erect between his legs. But wait! Was it all a dream? A possibly-jacking-off Enrique alone in bed with a nudie magazine featuring a trashy picture of sex ad lady. All in all: an indisputable cinematic triumph for the son of Julio Iglesias, rife with pathos and cleavage.

Enrique Miguel Iglesias Preysler, better known as Enrique Iglesias, started his musical career on Mexican label Fonovisa. This helped turn him into one of the most popular artists in Latin America and in the Hispanic or Latino market in the US, and the biggest seller of Spanish language albums for a number of years. Before the turn of the millennium, he made a crossover into the mainstream English language market, signing a deal with Universal Music Group for an unprecedented US$48 million to release his Spanish albums (and Interscope to release the English versions). Last year he parted with Interscope and signed with Universal Republic.

Enrique Iglesias - Sad Eyes (Eric Kupper Remix)
CH#43

Lyrics:

Every day here you come walking
I hold my tongue, I don't do much talking
You say you're happy and you're doin' fine
Well go ahead, baby, I got plenty of time
Sad eyes never lie
Sad eyes never lie

Well for a while I've been watching you steady
Ain't gonna move 'til you're good and ready
You show up and then you shy away
But I know pretty soon you'll be walkin' this way
Sad eyes never lie
Sad eyes never lie

Baby don't you know I don't care
Don't you know that I've been there
Well if something in the air feels a little unkind
Don't worry darling, it'll slip your mind

I know you think you'd never be mine
Well that's okay, baby, I don't mine
that shy smile's sweet, that's a fact
Go ahead, I don't mind the act
Here you come all dressed up for a date
Well one more step and it'll be too late
Blue blue ribbon in you hair
Like you're so sure I'll be standing there
Sad eyes never lie
Sad eyes never lie
Sad eyes never lie
Sad eyes never lie

...and here it is - 2012's UK Christmas No.1 (for all of you who have just missed it) - the tribute to the 96 victims of the Hillsborough disaster all these years ago, whom FINALLY saw justice done this year!

I don't want a lot for Christmas
There's just one thing I need
I don't care about the presents
Underneath the Christmas tree
I just want you for my own
More than you could ever know
Make my wish come true
All I want for Christmas is...
You

I don't want a lot for Christmas
There's just one thing I need
I don't care about the presents
Underneath the Christmas tree
I don't need to hang my stocking
There upon the fireplace
Santa Claus won't make me happy
With a toy on Christmas day
I just want you for my own
More than you could ever know
Make my wish come true
All I want for Christmas is you
You baby

I won't ask for much this Christmas
I don't even wish for snow
I'm just gonna keep on waiting
Underneath the mistletoe
I won't make a list and send it
To the North Pole for Saint Nick
I won't even stay awake to
Hear those magic reindeers click
'Cause I just want you here tonight
Holding on to me so tight
What more can I do
Baby all I want for Christmas is you
Ooh baby
All the lights are shining
So brightly everywhere
And the sound of children's
Laughter fills the air
And everyone is singing
I hear those sleigh bells ringing
Santa won't you bring me the one I really need
Won't you please bring my baby to me...

Oh I don't want a lot for Christmas
This is all I'm asking for
I just want to see my baby
Standing right outside my door
Oh I just want you for my own
More than you could ever know
Make my wish come true
Baby all I want for Christmas is...
You

Feeling's unknown and you're all alone
Flesh and bone by the telephone
Lift up the receiver
I'll make you believer

Take second best
Put me to the test
Things on your shest
You need to confess
I will deliver
You know I'm a forgiver
Reach out and touch faith

Your own Personal Jesus
Feeling's unknown and you're all alone
Flesh and bone by the telephone
Lift up the receiver
I'll make you believer
I will deliver
You know I'm a forgiver
Reach out and touch faith
Your own Personal Jesus
Reach out and touch faith

Written in 1968 by Michel Legrand, Marilyn and Alan Bergman for the movie The Thomas Crown Affair, it won the Oscar for Best Song from a Movie the following year.

Noel Harrison - Windmills of Your Mind (1968)
UK#8

Lyrics:

Round like a circle in a spiral
Like a wheel within a wheel
Never ending on beginning
On an ever-spinning reel
Like a snowball down a mountain
Or a carnival balloon
Like a carousel that's turning
Running rings around the moon
Like a clock whose hands are sweeping
Past the minutes on its face
And the world is like an apple
Whirling silently in space
Like the circles that you find
In the windmills of your mind

Like a tunnel that you follow
To a tunnel of its own
Down a hollow to a cavern
Where the sun has never shone
Like a door that keeps revolving
In a half-forgotten dream
Or the ripples from a pebble
Someone tosses in a stream
Like a clock whose hands are sweeping
Past the minutes on its face
And the world is like an apple
Whirling silently in space
Like the circles that you find
In the windmills of your mind

Keys that jingle in your pocket
Words that jangle in your head
Why did summer go so quickly?
Was it something that I said?
Lovers walk along a shore
And leave their footprints in the sand
Was the sound of distant drumming
Just the fingers of your hand?
Pictures hanging in a hallway
Or the fragment of a song
Half-remembered names and faces
But to whom do they belong?
When you knew that it was over
Were you suddenly aware
That the autumn leaves were turning
To the color of her hair?

Like a circle in a spiral
Like a wheel within a wheel
Never ending or beginning
On an ever-spinning reel
As the images unwind
Like the circles that you find
In the windmills of your mind

That's great, it starts with an earthquake, birds and
snakes, an aeroplane and Lenny Bruce is not afraid.
Eye of a hurricane, listen to yourself churn - world
serves its own needs, dummy serve your own needs. Feed
it off an aux speak, grunt, no, strength, the Ladder
start to clatter with fear fight down height. Wire
in a fire, representing seven games, and a government
for hire at a combat site. Left of west and coming in
a hurry with the furys breathing down your neck. Team
by team reporters baffled, trumped, tethered cropped.
Look at that low playing. Fine, then. Uh oh,
overflow, population, common food, but it'll do to Save
yourself, serve yourself. World serves its own needs,
listen to your heart bleed dummy with the rapture and
the revered and the right, right. You vitriolic,
patriotic, slam, fight, bright light, feeling pretty
psyched.

It's the end of the world as we know it.
It's the end of the world as we know it.
It's the end of the world as we know it and I feel fine.

Husband-and-Wife team John Smith & Valerie Day from Portland, Oregon (US) were Nu Shooz. They released four albums during the 1980s, but it was their third album which brought them global attention. Talk about transatlantic co-operation... :

Nu Shooz originally released the single I Can't Wait in Portland in April 1985 on Poolside Records. The original recording was done at Cascade Recording in Portland in the fall of 1984. The track was a big hit on Portland radio stations at the time, but they were turned down by every major label. A copy of the song made it to the Netherlands, where it was remixed by Peter Slaghuis. This version is known as the 'Dutch Mix.' The remix came back into the US as an import on Dutch label Injection Records. It was this version that got the attention of Atlantic Records, which signed the band to a contract in January 1986.

The song's American chart run coincided with that of a Stevie Nicks song also titled 'I Can't Wait', a rare incidence of two different songs with the same title charting at the same time. The extended mix contains more samples, such as 'c'mon!' from Madonna's 'Into the Groove', and takes the pitchshifting of the chorus even further, creating an eventual pitchdown at the ending.
According to Billboard in 2009, I Can't Wait plays somewhere on earth every eleven minutes.

My love, tell me what it's all about
You've go something that I can't live without
Happiness, is so hard to find
Hey baby, tell me what is on your mind

Coz I can't wait (baby I can't wait) till you call me on the telephone
I can't wait (baby I can't wait) till we're all alone

You know I love you even when you don't try
I know that our love will never die
Hey darling when you look into my eye
Please tell me you'll never have to say goodbye

Coz I can't wait (baby I can't wait) this is what I've been waiting for
I can't wait (baby I can't wait) till my love walked in the door
I can't wait (baby I can't wait) true love is so hard to find
I found yours, you found mine
I can't wait (baby I can't wait) tell me what is on your mind
Got to let you know...

I can't wait (baby I can't wait) till you call me on the telephone
I can't wait (baby I can't wait) till we're all alone
Oh oh I can't wait (baby I can't wait) true love is so hard to find
I found yours, you found mine
I can't wait (baby I can't wait) tell me what is on your mind
No, no, I can't wait (baby I can't wait)
No, I can't wait (baby I can't wait)
Say it one more time
Oh I can't wait (baby I can't wait) this is what I've been waiting for
Oh I can't wait (baby I can't wait) till my love walked in the door

Krush hailed from Nottingham, UK, and consisted of Mark Gamble, Cassius Campbell and record producers Mark Brydon and Robert Gordon as as well as vocalist Ruth Joy, whose real name is Ann Saunderson and, not least because of the coincidence of the chart success timing, was a long time assumed and rumoured to be the wife of Kevin Saunderson.
Mark went on to have continued success with a variety of other projects within house/dance music: most notable in the mid 1990s with vocalist Róisín Murphy, as the producer of Moloko.
Krush's 'House Arrest' was one the first songs I ever recorded back in the 80s on the Stereo Cassette Recorder I so proudly purchased from the gift money for my Coming-of-Age celebrations.

Oooh, if you're looking for love, don't follow me
We've got this house under arrest
If you're (Yeah, hey) looking for love, don't follow me (No, no, no, no)
We've got this house under arrest (The beat is on the run)

And I ain't so high
That I can't fall
And I ain't so low
That I can crawl

Life's too short to throw it all away, yeh ehy
Your love is too high a price to pay, yeh ehy

When you talk
Just say you're mine
And I know - cause I feel - that it's true
You let your love light shine
And I ain't so high
That I can't fall
And I ain't so low
That I can crawl

Life's too short to throw it all away, yeh ehy
Your love is too high a price to pay, yeh ehy

Down my way.....
(Right on, keep on!)
Believe in me!
You can do anything you wanna
be what you wanna be
Time's too short to throw it all away, yeh ehy
Your love is too high a price to pay, ooh....
Uuuuhh

Mine, immaculate dream made breath and skin
I've been waiting for you
Signed, with a home tattoo,
Happy birthday to you was created for you

(can not forgive from falling apart at the seams
Can not believe you're taking my heart to pieces)

Oh, it'll take a little time,
Might take a little crime
To come undone now

We'll try to stay blind
To the hope and fear outside
Hey child, stay wilder than the wind
And blow me into cry

Who do you need, who do you love
When you come undone?
Who do you need, who do you love
When you come undone?

Words, playing me deja vu
Like a radio tune I swear I've heard before
Chill, is it something real
Or the magic I'm feeding off your fingers?

(can not forgive from falling apart at the seams
Can not believe you're taking my heart to pieces)

Lost, in a snow filled sky,
we'll make it alright
To come undone now

We'll try to stay blind
To the hope and fear outside
Hey child, stay wilder than the wind
And blow me into cry

Who do you need, who do you love
When you come undone?
Who do you need, who do you love
When you come undone?

(can not forgive from falling apart)
Who do you need, who do you love
When you come undone?
(can not forgive from falling apart)
Who do you need, who do you love?
(can not forgive from falling apart)
Who do you love
When you come undone?
(can not forgive from falling apart)

Spend your money on the corner now
Know you've gotta save some
For the shoeshine boys
You've been pulling 'em
By the hand inside
Oh...collecting all your toys
If you need a lead heaven now,
Just stick around--
You're going to be there
What do you dare?
What do you care?
What does your heart say now?

All she wants is
All she wants is
All she wants is

Divine intervention
Couldn't keep the word
From leaking out
With your pleasure in suspension
Not to mention
What you hang it around
If you need a lead to heaven, yeah
A place to share
In every position
What do you dare?
What do you care?
What does your heart say now?

Working on the weekend, baby.
She's working all through the night.
A jump into the deep end gave her
The evidence she required.
Takes five; she's got pearls.
Don't fake it when it comes to making money.
So she smiles. But that's cruel.
If you know what she thinks
If you knew what she was after.

Sometimes she wonders,
And she laughs in her frustration.

Would someone please explain
The reason for this strange behaviour.
In exploitation's name
We must be working for the Skin Trade.

Doctors of the revolution gave us
The medicine we desired.
Besides being absolutely painless
It's a question of compromise.
They got steel.
So cool to get angry at the weekend
And go back to school.
So big deal; it's what rules.
When it comes to making money,
Say yes, please; thank you.

Sometimes you wonder, and ask yourself the question.

Would someone please explain
The reason for this strange behaviour.
In exploitation's name
We must be working for the Skin Trade.

I know the answer, but I'm asking you the question.

Would someone please explain
The reason for this strange behaviour.
In exploitation's name
We must be working for the Skin Trade.

I can't read about it.
Burns the skin from your eyes.
I'll do fine without it.
Here's one you don't compromise.
Lies come hard in disguise.
They need to fight it out.
Not wild about it.
Lay your seedy judgements.
Who says they're part of our lives?

You own the money
You control the witness.
I'll leave you lonely.
Don't monkey with my business.
You pay the prophets to justify your reasons.
I heard your promise,but I don't believe it.

That's why I've done it again. No-no-Notorious.

Girls will keep the secrets (uh)
So long as boys make a noise.
Fools run rings to break up.
Something they'll never destroy.
Grand Notorious slam (bam).
And who really gives a damn for a flaky bandit?
Don't ask me to bleed about it
I need this blood to survive.

You own the money
You control the witness.
I'll leave you lonely.
Don't monkey with my business.
You pay the prophets to justify your reasons.
I heard your promise,but I don't believe it.

That's why I've done it again. No-no-Notorious.

You own the money
You control the witness.
I'll leave you lonely.
Don't monkey with my business.
You pay the prophets to justify your reasons.
I heard your promise,but I don't believe it.

You own the money
You control the witness.
I'll leave you lonely.
Don't monkey with my business.
You pay the prophets to justify your reasons.
I heard your promise,but I don't believe it.

Why can't we be (together)?
Can't you love me, don't hate me
I don't see (why can't we live together)
Maybe we could get it on (maybe we could get along)
Should be our destiny
There's a cold streak living (inside us)
There's no rainbows... just bullets and bombs
If you want to rise up
We can make this hate stop
Now don't you want to rise up

We've been giving hate a chance
(We've got all this love to give, you know)
And the love will be running out for us
Can you feel the dreams of life
We're hoping we can still survive
As the wind carries every dove away

So why do we see (these colours)
It's only skin deep, don't mean a thing
So clear (underneath this we're all brothers)
Can't you see it's killing us
(Can't you see it's killing us)
Can't you see it's killing me
Trigger happy fantasy
So stand up and be (so strong now)
Freedom is not so far away
If you know you want to rise up
We can make this hate stop
Now don't you want to rise up

We've been giving hate a chance
(We've got all this love to give, you know)
And the love will be running out for us
Can you feel the dreams of life
We're hoping we can still survive
As the wind carries every dove away

Now you've been taking our dignity for too long
I want to save this sanctity that we hold
And who's right and who's wrong
We're not so different anyway
Words are in this song
Can't we stop the fighting?

Coz we've been giving hate a chance
Don't give this hate a chance
We've got all this love to give, you know
And the love will be running out for us (we’ve got all this love to give)
(and that the love’s still alive, survive)
Can you feel the dreams of life
We're hoping we can still survive
As the wind carries every dove away
Don't give this hate a chance (can’t we stop the dove away)
We've got all this love to give, you know
That this dream's alive, will still survive (can’t we stop the dove away)
Until no more people have to cry
Don't give this hate a chance (can’t we stop the dove away)
We've got all this love to give (that’s the wind carries every dove away)
That this dream's alive, we’ll still survive
And the love will be running out for us
Until no more people have to cry
Don't give this hate a chance
We've got all this love to give, you know
That this dream's alive, we’ll still survive
Until no more people have to cry

Usher, baby
Yeah, yeah, we did it again
And this time I'mma make you scream

Usher! Yeah, man...

I see you over there, so hypnotic
Thinking 'bout what I'd do to that body
I'd get you like ooh baby baby
Ooh baby baby, ah-ooh baby baby ooh baby baby
Got no drink in my hand
But I'm wasted
Getting drunk on the thought of you naked
I'd get you like ooh baby baby
Ooh baby baby, ah-ooh baby baby ooh baby baby

And I've tried to fight it, to fight it
But you're so magnetic, magnetic
Got one life, just live it, just live it
Now relax, and get on your back

If you wanna scream, yeah
Let me know and I'll take you there
Get you going like
Ah-ooh baby baby ooh baby baby
Ah-ooh baby baby ooh baby
If you want it done right
Hope you're ready to go all night
Get you going like
Ah-ooh baby baby ooh baby baby
Ah-ooh baby baby ooh baby
If you wanna scream

Yeah, come on

Kill the lights, shut 'em off
You're electric
Devil eyes telling me "Come and get it"
I'll have you like
Ooh baby baby ooh baby baby
Ah-ooh baby baby ooh baby baby
Girl tonight you're the prey
I'm the hunter
Take you here, take you there
Take you under
Imagine me whispering in your ear
Then I wanna take off all your clothes and put something on ya

And I've tried to fight it, to fight it
But you're so magnetic, magnetic
Got one life, just live it, just live it
Now relax, and get on your back

If you wanna scream, yeah
Let me know and I'll take you there
Get you going like
Ah-ooh baby baby ooh baby baby
Ah-ooh baby baby ooh baby
If you want it done right
Hope you're ready to go all night
Get you going like
Ah-ooh baby baby ooh baby baby
Yeah, ah-ooh baby baby ooh baby
If you wanna scream...

If you wanna scream, yeah
Let me know and I'll take you there
Get you going like
Ah-ooh baby baby ooh baby baby
Ah-ooh baby baby ooh baby
If you want it done right
Hope you're ready to go all night
Get you going like
Ah-ooh baby baby ooh baby baby
Ah-ooh baby baby ooh baby
If you wanna scream

Marta Sánchez López was born on 8 May 1966 in Madrid, Spain. Her father, Antonio Sánchez Camporro, was a Galician opera singer. Marta's music career began with the band Cristal Oskuro, but shortly after she was discovered by Tino Azores, a sound technician for the pop group Olé Olé. In 1985, Marta became the lead singer of Olé Olé, which brought her to fame and made her one of the biggest sex symbols of the 1980s in Spain, during a time when the country was easing the traditional rigid moral values of Catholicism. Her first hit with Olé-Olé was 'Lilly Marleen', a Spanish adaptation of the popular World War II German love song. Other hits like 'Bailando Sin Salir de Casa' and 'Con Sólo Una Mirada' followed with the group. She remained with the band until 1991 before deciding to pursue a solo career.
In 1993, Marta released her debut solo album, Mujer. Her first single 'Desesperada' was released both in Spain and The Americas. Mujer's 2nd single, 'Tal Vez' was provided by Thomas Anders - of Modern Talking fame - but it was the 3rd single 'De Mujer a Mujer' which would establish her as a household name all over Latin America.
Her 4th album - Desconocida - released in 1998 which includes 'Estrellas De Fuego' was released in 1998. This one caught my attention, and remains to be one of my favourite Spanish language tracks of all time.

Maximilian Lenz, a.k.a. Westbam, was born 1965 in Münster, Germany. His synonym is a homage to Afrika Bambaataa, thus "Westphalia Bambaataa". He started his career as a DJ in 1983 in his birth city Münster. In 1984 he moved to Berlin where he released his first record called '17 - This Is Not a Boris Becker Song'. Westbam played at the first Love Parade in 1989 at Ku'damm Berlin. Around that time, the DJ culture made a breakthrough in Germany. After several records he released his first album named The Cabinet. In 1991, he organised the first Mayday rave in Berlin. With over 5000 people, it was the biggest techno party in Germany at the time. Since then, Mayday has been vital to the German techno scene. Westbam is still an organiser of the party, and he is also a part of Members of Mayday, the producer of the Mayday-Anthems.
In 1993, he played a number of rave events in the United Kingdom including Obsession Passion at the Sanctuary in Milton Keynes.

Gabriele Susanne Kerner, a.k.a. Nena, was born in 1960 in Hagen, Germany. Nena's stagename is derived from her family nickname, based on the Spanish word 'nena' slang for 'niña', or 'little girl', at the age of three, while on a vacation to Spain with her parents. Her musical career began in the summer of 1979 when guitarist Rainer Kitzmann offered her a position as the lead singer in his band, The Stripes. The group had a minor hit with the song 'Ecstasy', but never achieved mainstream success, and soon disbanded.
In 1981 Nena and her then-boyfriend Rolf Brendel moved to (West)Berlin, where they met Carlo Karges, Uwe Fahrenkrog-Petersen and Jürgen Dehmel. Together they formed the band Nena. In 1982 they released their first single, 'Nur geträumt' (Only dreamt), which became an instant hit in Germany.
Nena rose to international fame in 1983 with the New German Wave song '99 Luftballons', re-recorded in English as '99 Red Balloons'.
With the re-recording and subsequent release of some of her old songs, her career re-emerged in 2002. In 2007, she co-founded the school 'Neue Schule Hamburg'.

Talking of school: in 2002 at the time of the re-launch of her career, Nena met Westbam, whom was by now the most influential DJ in the German metropolis. Together they recorded Oldschool Baby.

Simon Webbe, Lee Ryan, Duncan James and Antony Costa are: Blue. The boys found in 2001 and rose to fame pretty much pronto with All Rise. Late in 2004, Elton John, with whom they were working together from 2004, suggested to split and focus on their respective solo careers.

When we say study, it means work,
When we say work, it means money,
When we say money, it means spending
When we say credit, it means debt,
When we say debt, it means bailiff,
We agree to being in deep shit
When we say love, it means kids,
When we say forever, it means divorce.
When we say family, we say grief, because misfortune never comes alone.
When we say crisis, we talk about the wold, famine and then third world.
When we say tiredness, we talk about waking up still deaf from sleepless night
So we just go out to forget all our problems.

So we just dance…

And you say it’s worse than that because eventually it will be death.
What do you think finally you do it when there are more, well there is more!
did you say these problems are the problems or is it the music.
It grabs you by the guts, it takes hold of your head and then you pray for it to end.
But your body is no heaven so you block your ears even more.
And then you yell even louder and it goes on…

So we just sing
Lalalalalala, Lalalalalala,

So we just sing
Lalalalalala, Lalalalalala,

So we just sing
So we just sing
And then only when it’s over, then we dance.
So we just dance
And well, there’s still more

Following the mix of the holiday, here is the tune of the holiday, once iPod Shuffle stumbled across it, I couldn't help listen and keep returning over & over. Imagine this on your ears and looking out on a spectacular tropical beach setting... - sadly not released as a single individually, it's actually a track dating back to 2004, when Swedish DJ Sten 'StoneBridge' Hallstrom included it on his album 'Can't Get Enough', one of my favourite albums ever, on which he collaborated with various vocalists, incl. Therese on 'Put Em High' and 'Take Me Away'. Feast your Ears :-)